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Showing posts with label 'At The Jazz Band Ball'. Show all posts
Showing posts with label 'At The Jazz Band Ball'. Show all posts

4 September 2015

Post 259: 'AT THE JAZZ BAND BALL' - SHAYE AND TS

Many musicians dislike playing At The Jazz Band Ball. When the band-leader announces it, they think, 'Oh, no. Not that. It's boringly repetitive and so simple that it presents nothing of interest - no challenges'.
It is indeed a very simple tune, consisting of just 32 bars, and it is usually played in the key of Bb. It breaks down into two 16-bar parts. All that can be said for Part A is that it is in the related key of G minor and that bars 1 to 4 and bars 9 to 12 are actually on the chord of G minor, so that at least gives it a certain flavour.

But Part B (16 bars entirely in Bb) is the section on which bands tend to stick and on which improvisations develop. Part B's chord progression uses The Circle of Fifths, which makes it so easy to create variations that it is all a bit too easy. Musicians can be tempted to play on automatic pilot.

The reason I'm making these points is that at last I have come across a YouTube video that shows how musicians playing this tune can be creative and turn it into an exciting experience.

It's our old friends Tuba Skinny under the direction of Shaye Cohn who have worked the trick, in a performance kindly filmed for us recently by James Sterling: CLICK HERE.

Establishing a sensible tempo, they play Part A (the minor key section) only twice (at the start and again at 1 minute 1 second - notice Shaye signalling this with the hand on the head); but Part B is played no fewer than 13 times.

In particular, you have to admire Shaye on the cornet for participating in at least 9 of those 13 choruses - sometimes taking the lead but often putting in decoration while Craig or Barnabus take their turn to lead. Just listen to the notes and variations she plays. Observe her fingers and admire the energy she puts into her contribution. (This is in spite of the fact that, according to a correspondent,  she was suffering from a cold at the time.)

By the way, if you have trouble sorting out those thirteen Part B choruses, it may help to look out for the 5th - Jason's banjo 'solo'. Then you will find Todd leads on the 9th and Robin on the 10th.

At The Jazz Band Ball was created by The Original Dixieland Jazz Band in 1917 - so it's more than 100 years old. You can listen to them in 1918 playing it at break-neck speed. In just two and a half minutes, they get through Part A four times and Part B six times! CLICK HERE.

31 May 2013

Post 92: THE SALTY DOG CHORD PROGRESSION

Below, with much gratitude to Lasse Collin and his wonderful website, is the tune Salty Dog. You will note that Lasse gives the chords (concert) at the top. The key is Bb but the first chord is G7, leading to C7, then F7, and so to Bb, before the cycle begins again. This sequence (VI7-II7-V7-I) is known as The Salty Dog Chord Progression and it is used in many tunes. It begins on the Chord of the VI and then goes through the Circle of Fifths.
In the lower part of his Chart, Lasse has transposed the tune into the key of C (for Bb instruments), so this time it begins on A7 and progresses through D7, etc.

Take another example. If you're in the key of F and the chord for the first full bar of the tune is D7, it's likely you are playing a song that begins with The Salty Dog Chord Progression. It appears quite frequently in traditional jazz. So it is helpful to become familiar with it, especially as this will help you with improvising.

Examples of our tunes in which The Salty Dog Chord Progression is used:

A Good Man Is Hard To Find
Alabamy Bound
All I Want is a Spoonful
Any Time
At The Jazz Band Ball [main strain]
Balling The Jack
Buck Fever Rag

Cushion Foot Stomp [final theme]
Friends and Neighbours
Good Time Flat Blues (also known as Farewell to Storyville) [chorus]
Jazz Me Blues [main strain]
Lonesome Drag
Louis-i-a-ni-a
Put and Take Blues

Rose of the Rio Grande
Salty Dog
Seems Like Old Times
Shine On Harvest Moon
Since My Best Girl Turned Me Down

Sweet Georgia Brown
Tailgate Ramble
Take a Ferryboat Down to New Orleans
There’ll Be Some Changes Made
Up A Lazy River
You Must Have Been a Beautiful Baby
You've Got The Right Key But The Wrong Keyhole


I have received this e-mail from James Sterling in Florida. James is a fan of bluegrass as well as traditional jazz:

Ivan,
I was catching up on your blog tonight and saw your post on 'Salty Dog' and thought I would forward you the version I grew up with. This is a clip from the Flatt and Scruggs television show recorded in the 1960s. It was a ritual in our home to watch Flatt and Scruggs every Saturday night at 6pm. Lester Flatt singing lead and playing rhythm guitar, Earl Scruggs on five-string banjo (the best there ever was and the best there ever will be), Buck Graves (also known as 'Uncle Josh') on dobro, Paul Warren on fiddle, Curly Seckler harmony and mandolin (the only living member of the original band at 94), and 'Cousin Jake' Tullock on bass:

Thanks, James. I enjoyed that. And, by the way, those essential repeated four chords keep coming through loud and clear.